Both photographers Mary McIntyre and Carlos Albalà creates interesting images of deserted landscapes, often wrapped in a deep fog or in a darkness that partially hide the shapes of things, enhancing the feeling that what we're really watching is the emptiness that exists between things, the distance between one trace and the other of human life or any other kind of life. Hence both works are again a good chance to experience the suspension of visual disbelief that the internet represents for images, leaving us wondering how the real images will actually look like, if the those tiny tonal nuances that we suppose must be in the images in order to make them actually fulfill their purpose will actually be inside them or not.To me the internet looks like a visual promise of something we still need to check if it really exists, a virtuality of perception, some kind of photographic teasing that constantly displace the real experience of the image elsewhere in time and space. The question is, will we ever fully live the experience of those images or will we just stay inside our own fantasy of how these images might be? Will we ever meet them 'in person' or we'll just limit ourselves to 'imagine' how those images look like?Digital photography is often blamed for its manipulative attitude towards reality, towards the truth, maybe the real deal is how we can manage to preserve a perceptive truthfulness of images in the ever-growing digital production and diffusion of photographic images.

Peter Sutherland's photographic sets are like a whole big personal diary where he takes note of all the oddities he encounters in daily life, some kind of perpetual record of what is missed by the eye, the silent strangeness of hundreds of apparently normal or anonymous moments.

Lourdes Grobet has photographed the spectacle of Mexican professional wrestling, known as lucha libre, for more than 25 years. Her last book about the masked heroes of the lucha is called The Family Portraits - when the title says it all.

One more chapter to add to the journey through visual deception, one more fruit of the legacy of Mandel and Sultan's Evidence: Michael Schmelling's latest book The Plan, mute records from 'various homes and apartments photographed in the company of Disaster Masters, a New York based agency that specializes in cleaning homes and counseling hoarders'. What happens when our own objects are deprived of any familiar and human trace, what happens when we just watch their mere existence, detached from the use we make of them, handled like evidences (of course), displaced and abandoned?Make sure to take a close look to the rest of Schmelling's work too, often pervaded by the same feeling of helpless witnessing, the same frustration of watching the right thing in the wrong time, un-decisive moments leaving us with the burden of finding the meaning of what we see on our own, without any kind of help.